Peter Greenaway: Film

“The start of a film is like a gateway, a formal entrance-point. The first three minutes of a film make great demands on an audience's patience and credulity. A great deal has to be learnt very rapidly about place and attitude, character and intent and ambition.”

Peter Greenaway

Watching Water

Patience

“A series of ever-decreasing splashes drip and plop into black water… thus the beginning of the film is reprised.”

Peter Greenaway

Prospero's Books

Water

“The cinema is about other things than storytelling. What you remember from a good film -- and let's only talk about good films -- is not the story, but a particular and hopefully unique experience that is about atmosphere, ambience, performance, style, an emotional attitude, gestures, singular events, a particular audio-visual experience that does not rely on the story.”

Peter Greenaway

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

“On the other hand, I view the whole matter from a cosmic perspective. I don't take a position. I believe that there are no more positions to take, no certainties, no facts. Many people find this confusing about my films; they say I am hiding out behind irony. But from a cosmic viewpoint, it is eternally unimportant whether one lives or not.”

Peter Greenaway

In an interview in Die Zeit, 24 Nov 1989
Interviews

People

“I invariably, after great familiarity with a film, concoct a personal way of reading it that relies entirely on information which a public audience would, I feel, have scant interest. I might travel from a casual unrehearsed glance of a minor character to a detail of folded cloth, from a rhyme in the dialogue to an over-excited high note in the music, from a misplaced shadow to a patch of rogue colour, from a shine on a furniture leg to a curious accidental photographic haze around a street lamp, from the examination of a cloud that looks like a snail to the discomfort of an actress who I know is stifling a sneeze.”

Peter Greenaway

Watching Water

Music , Way , Travel , Feeling

“The film has written and spoken dialogue in twenty-five languages-English, French, Japanese, Mandarin, Cantonese, Vietnamese, Latin, Hebrew, necrotic Egyptian … and it has written calligraphic text on paper, wood, and flesh, on flat and curved surfaces, vertically and horizontally, on both living and dead flesh, in neon, on screens, in projection, as sub-title, inter-title, and sur-title, as High Art and low art, as advertisement and banker's check and registration plate, on photograph, on blackboard, as letter correspondence, as photocopy facsimile, and spoken, chanted, and sung, with and without music … a mocking challenge. You want text? Cinema wants text? Cinema pretends to eschew text? Then we can give you text to mock that smug suggestion that cinema thinks it is pictures.”

Peter Greenaway

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

Art , Music , Thinking , Dead

“It seems to me that the comprehension and enjoyment of the reader, as opposed to the viewer, is best served in printing this version rather than a slavish definitive transcription. Besides, what film is truly definitive? By the time you see the film it may very well be sub-titled, re-edited, shortened, even censored, and every film is viewed at the discretion of the projectionist, the cinema manager, the architect of the cinema, the comfort of your seat and the attention of your neighbour.”

Peter Greenaway

From the Author's Note to the published script.
A Zed and Two Noughts

Time

“There is no obligation for the author of a film to believe in, or to sympathise with, the moral behaviour of his characters. Nor is he necessarily to be accredited with the same opinions as his characters. Nor is it necessary or obligatory for him to believe in the tenet of his construction -- all of which is a disclaimer to the notion that the author of Drowning by Numbers believes that all men are weak, enfeebled, loutish, boorish and generally inadequate and incompetent as partners for women. But it's a thought.”

Peter Greenaway

Fear of Drowning By Numbers

Women , Men

“In practically every film you experience, you can see the director following the text. Illustrating the words first, making the pictures after, and, alas, so often not making pictures at all, but holding up the camera to do its mimetic worst.”

Peter Greenaway

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

“I once saw a film where the main character didn't speak for the first half hour.”

Peter Greenaway

The Cook, The Thief, His Wife, and Her Lover

“It seems to me that dominant cinema seems to require an empathy or a sympathy between the film and the audience which is basically to do with the manipulation of the emotions and it seems to me again -- and this is a very subjective position -- that most cinema seems to trivialise the emotions, sentimentalising or romanticising them.”

Peter Greenaway

From an interview in Art and Design, no. 49
Interviews

“I think that films or indeed any art work should be made in a way that they are infinitely viewable; so that you could go back to it time and time again, not necessarily immediately but over a space of time, and see new things in it, or new ways of looking at it.”

Peter Greenaway

From an interview in Art and Design, no. 49
Interviews

Art , Way , Thinking , Time

“Finally we hit upon the old cathedral of Amsterdam, which belongs to the Reformed Church and which we remodeled. The owners gave us permission, on certain financial conditions, to shoot the film there. Before that, we had planned to use the cathedral of Cologne, but two days before we began our preparations, The Cook, the Thief, His Wife, and Her Lover was shown on German television and the archbishop immediately forbade us from entering the cathedral site!”

Peter Greenaway

From an interview in Positif, January 1994
Interviews

Lovers , Cooking

“All my films are somewhat experimental, they are all, each one, taking a certain amount of risk, but there's always the basic assumption that we should be able to appreciate the cinema as much with the mind as we can through emotional empathy. Sometimes it works, sometimes it doesn't.”

Peter Greenaway

From an interview in Art and Design, no. 49
Interviews

“Film is such an extraordinary rich medium which can handle so many different modes of operation, combining together in the same place all these extraordinary disciplines which may be executed in their own right -- music, writing, picture making of all kinds, and I often feel that some filmmakers make films with one eye closed and two hands tied behind their backs.”

Peter Greenaway

From an interview in Art and Design, no. 49
Interviews

Music , Feeling

“I think it is really important to be in some way provocative -- either intellectually or viscerally -- in the films one makes.”

Peter Greenaway

From an interview in Art and Design, no. 49
Interviews

Way , Thinking

“I made a very bad mistake; I miscounted these scraps of information on the record as 92, and in continual homage to this man who had been so influential to me, I began creating or constructing my own films on this so-called "magic" number of 92 … but when I eventually made a film about John Cage and met him, I explained this to him, and he found it very amusing because there are only 90 stories on the two sides of the record, and I'd based three years of my filmic career on this mathematical error!”

Peter Greenaway

On John Cage's Indeterminacy, from an interview in Art and Design, no. 49
Interviews

Error , Mathematics

“Outside in the garden, the greenhouse collapses. Masonry crashes from the roof and splashes into the moat. The grave-marker for the pig Hortense moves up out of the ground. The Maillol statue stands firm as the shrubs around it quiver. A water-main bursts in the yard sending a shower into the air. Trees fall as though whipped down to the ground. The water on the lake shimmers and ripples like a film run backwards.”

Peter Greenaway

Penultimate paragraph of the published script.
8 1/2 Women

Tree , Water

“There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.”

Peter Greenaway

From the introduction to 8 1/2 Women
8 1/2 Women

Thinking , Parting

“That comes from most people having an American film model in their heads which is nothing but a total illusionary masturbatory massage.”

Peter Greenaway

In an interview in Die Zeit, 24 Nov 1989
Interviews

People